#oneaday Day 852: Rotting retro

You know, I have historically thought that out of all the subcommunities of computer and tech enthusiasts, the one which would have more respect for doing things "the hard way" than anyone else would be the retro fans. These are people who, in many cases, grew up seeing genius programmers making limited hardware do things far beyond its supposed capabilities, and, even if they never saw fit to take up programming themselves, could at least understand why it was impressive when, for example, someone made an Atari 8-bit display 256 colours on screen at the same time.

Sadly, it is increasingly looking as if the retro sphere, much like everyfuckingthing else, has been infiltrated, corrupted, poisoned and rotted by the scourge that is generative AI.

In just the last week, I have seen myriad vibe-coded "recompilation" projects, slop peddlers attempting to submit 50k lines of changes to an FPGA core that was already working just fine, the Oliver Twins making it abundantly clear what their odious stance is, web-based editors for the ZX Spectrum games Chaos and Target: Renegade slapped together using AI coding tools and someone making the bold claim that they have been "working on" (i.e. they prompted Claude to do it for them) multiplayer conversions of a variety of classic games for home computers and consoles, including Wizard of Wor, Pac-Man, Super Mario Bros. and Metroid. Oh, and someone who claimed to have decompiled Adobe's entire Creative Cloud suite of software and made a "clean room" version of it that doesn't work, like, at all, but that's not exactly retro. Still relevant, though.

The irritating thing is that a lot of these projects sound like they could be potentially interesting! 4-player Pac-Man on Atari 8-bit is a cool idea! Simultaneous co-op in Super Mario Bros. and Metroid are potentially intriguing twists on classic games! Tweaking retro games to play in different ways has been a proud tradition ever since everyone learned what the POKE command does!

And yet, I cannot, will not support any of these projects in good conscience. I just cannot. I cannot bring myself to give any sort of "reward" — and attention is a form of reward — to someone who thinks that throwing something into Claude Code and getting it to spit out something that looks convincing at first glance (but is probably deeply, deeply broken under the hood) is "working on something". I do not care that it looks impressive, at first glance, that you can click a button and some sort of functional-seeming, executable code pops out of the other end.

Because, really, what is the point? These projects are not put out into the wild with any attempt of aiding our collective understanding of things; they are put out in an attempt to accumulate clout, pure and simple. People want to be the first to do something, or the only person to do something, and the assumption, today, appears to be that the best way to do this is "just get AI to do it". Except then you haven't done anything yourself, have you? You have used a technology based on the stolen creativity and expertise of humanity, which consumes vast amounts of energy and water, which is unsustainably expensive to maintain beyond the next couple of years at most, which often gets things flat-out wrong, and which is responsible for making the Internet seven hundred thousand orders of magnitude worse than it has ever been, and you have got it to churn out something that, if you had to debug it yourself, you almost certainly wouldn't know where to start.

The standard counterargument to all this is "well, if this person hadn't done their little Claude Code project, it wouldn't have happened at all". And that, to me, is not a convincing case. It's a waste of time and money (but not effort) to produce something that, at first glance, appears to be "good enough" rather than something which has actually been crafted to work properly and perfectly — and in the meantime, it discourages people who are still doing this sort of thing properly to continue with their own projects, because that whole part of the scene has now been tainted with Claudeslop, and we've already seen with a variety of projects how disheartening that can be for some.

I think my biggest concern with all this is the long-term brain drain effect it will have. We're already seeing frightening numbers of people completely surrendering to the AI's "judgement" (which isn't a thing, but they believe it is) rather than thinking for themselves. And the end result, the longer all this goes on, is that actual skills and knowledge will atrophy. As the people who did this "the hard way" back in the day start to pass on — and many of them are passing on at this point, sadly — there will not be a generation of people who can take over. And when all this AI nonsense eventually collapses — which it will, as there is no way the world's economy can keep up this absolute insanity forever — it's going to leave a lot of people, projects and AI-corrupted enthusiast scenes in a real mess.

Now, you might think that doesn't matter for 40+ year old 8-bit home computers, but it absolutely does. Understanding how things work and how to recreate the conditions from back in the day is a crucial part of preserving the history of the medium, and the second you prompt Claude to just do it for you, you are wilfully saying that doesn't matter; you are wilfully disrespecting people who still know how to do all this stuff the old-fashioned way.

It matters. Your personal clout, on the other hand, does not, particularly if said clout has been accumulated by not really doing anything.

Maybe I should learn 6502 assembler just to spite these people.

Want to read my thoughts on various video games, visual novels and other popular culture things? Stop by MoeGamer.net, my site for all things fun where I am generally a lot more cheerful. And if you fancy watching some vids on classic games, drop by my YouTube channel.

If you want this nonsense in your inbox every day, please feel free to subscribe via email. Your email address won't be used for anything else.

#oneaday Day 851: Abandon ship?

Earlier today, the thoroughly lovely Quest 64 Official account on Bluesky (actually, in their own words, an account that has "spent nearly a decade attempting to rehab the way people view Quest 64/games in general", which is a sentiment I am 100% on board with) expressed frustration over a YouTube video they had seen cross their feed, which promised "12 longest N64 games that will take forever to beat!"

Now, that might not sound like a particularly offensive topic for a video, and it arguably isn't — even if it is both clichéd and clickbaity. What was offensive was… well, it was a lot of things. The video's thumbnail, which showed an obvious AI-generated approximation of Quest 64 rather than an actual screenshot. The fact Quest 64 was the poster boy for this topic in the first place (Quest 64 is approximately 12 hours long, which is very short by RPG standards). The fact that the channel, "Retro Pocket", very obviously uses an AI-generated logo — and thus it is not unreasonable to assume that the entire video may well be AI-generated.

"Now I have to not only fight the past," Quest said, "but future AI misinformation. It's becoming increasingly clear my Internet days are numbered, sadly." He went on to criticise the growing "Claudepuke" scene in the recompilation and modding scenes — something which has driven me to despair of late also.

The thing that made me most sad about this — and I feel sad and angry about all of it, make no mistake — is the fact that a person as thoroughly admirable and pleasant as Quest is should have to feel this way; like his contributions to online culture are no longer welcome, appreciated or worthwhile continuing with. I say this as someone who both follows the Quest 64 Official account, and has casually chatted with the person behind the account outside the context of public-facing social media: we need more people like this, not fewer.

It makes me sad, because I get it. As someone who still runs both a personal blog and an enthusiast, non-commercial video game website, I am a relic of a past age. I refuse to engage with short-form vertical video because I fucking hate it as a medium. I am tired of clickbait, AI slop, YouTubers covering the same few topics over and over again (I tried everything by BRAND! Testing VIRAL TIKTOK recipes! I bought AI SLOP PRODUCTS!) and headlines that refuse to name the proper noun that is the subject of the story. And yet with each passing day, I feel more and more like I cannot escape any of those things. I feel more and more like I am not welcome on an Internet I was once excited to be a part of. That offline existence feels increasingly appealing.

And yet I don't want to give up. I still remember that wide-eyed wonderment that my whole family had when we were first looking at Web pages in a crash-prone copy of Mosaic when CompuServe first added access to the broader Internet. I still remember the first time we ordered something online. I still remember the first time I chatted to someone online and formed a genuine friendship as a result. I refuse to accept that Internet is completely gone.

I feel like those of us who have been online since the beginning (or the beginning of it being relatively "mainstream", anyway) have just as much right to exist on the Internet as those who are systematically destroying everything that used to be great about it. In fact, if I'm honest, I feel like we have more right to exist than those who are systematically destroying everything that used to be great about it. I would be sad to see Quest 64 Official stop posting. I would be elated to never see anything from Sam Altman, Wario Amodei, Mark Zuckerberg and their ilk ever again.

But I don't know what to do, other than to stubbornly Keep Posting. To keep writing this silly little personal blog here, to keep penning my in-depth thoughts about video games I've played, and to steadfastly refuse to get on board with technological trends that are actively, demonstrably harmful to the concept of "culture" in general. To prove that there is still a place for The Old Internet.

So that's all I can do, really. Just Keep Posting. I refuse to let the fuckheads win. I will, hopefully, still be here when all the AI companies collapse and the world endures a hitherto unprecedented financial crisis that brings the very concept of capitalism to complete ruin. And I will be laughing. And probably crying a bit. But mostly laughing.

If you want this nonsense in your inbox every day, please feel free to subscribe via email. Your email address won't be used for anything else.

#oneaday Day 850: Fuck the Oliver Twins

I don't say this lightly, as I am that rare breed who legitimately, genuinely enjoyed the Dizzy games and believe a lot of their other prior output is excellent — particularly Firehawk on NES, which is an excellent tactical helicopter shoot 'em up that actually predates Desert Strike! But after seeing their recent output, and particularly reading these comments over on Time Extension, I say a full-throated, from-the-bottom-of-my-heart fuck off to Philip and Andrew Oliver.

The Oliver Twins are the textbook examples of "bedroom programmers" from the classic British home computer scene. They made games at home using their own skills and creativity, and achieved quite deserved success with many of them. Yes, I know a lot of people denigrate the Dizzy series in particular these days — particularly people from North America — but the fact is, these games had a place, and they achieved what they set out to do: provide a fun, distinctive mascot character, and a varied selection of games in which he appeared.

As such, I've always had respect for them and what they achieved. They helped define the British home computer scene of the 1980s, which, as you know, is a sector of gaming that is of enormous personal interest and relevance to me — even if I only had a chance to come to their stuff once we were into the Atari ST era, since they didn't make anything for the Atari 8-bit. I have genuinely fond memories of playing their stuff from back then, even if some of it doesn't hold up brilliantly (hello, Panic Dizzy on ST) and I had a lot of fun discovering a variety of their games I'd never played with The Oliver Twins Collection from the first year of Evercade, prior to me joining the company.

But with their current stance on AI, they have absolutely lost the fucking plot and seem to be wilfully ignorant of the overall mood in the room.

Let's go through some of the things they said in response to the questions from John Szczepaniak of Time Extension, shall we?

"We believe that, as creatives, it is another creative tool."

Literally the first answer is parroting the inevitable, probably LLM-generated in the first place, copypasta about it being "just a tool". Try harder.

"…in the right hands, we can create some awesome stuff that would have been impossible to create any other way."

Bollocks. Citation fucking needed. How, exactly, would it have been "impossible" to churn out things any other way than using generative AI?

"I'm sorry, but as an experiment, to create Emerald City, and all the art that went into this, it would have been an over-a-year project with a couple of artists, probably a hundred thousand pounds, all said and done when you're looking at all the costs."

Motherfucker, you literally ran a Kickstarter to fund your AI slop project. Ask for that £100,000 then pay some fucking artists with it! The reason your £5,000 Kickstarter failed is not because it was a fundamentally bad project, but because the project page, all the promotional material and literally everything about the project was drenched in generative AI imagery. This meant that people, on the whole, did not want to fund it. Because what is the point in paying for something the creators clearly have so little respect for themselves? Why would anyone want to fund your token habit?

If you had been honest and open about needing money, time and specialists to pull something off, I'm pretty sure a name as well-known and once-respected as the Oliver Twins would have been able to run a successful £100,000 Kickstarter without a problem. And whining and complaining that a project would take over a year, oh boo-fucking-hoo, creative projects require work over a significant period of time? Who would have fucking thought it?

"Now, as for scraping IP and all of that kind of stuff, I believe there should be regulations about what AI is trained on. I, unfortunately, do not run OpenAI or any of these other big gigs. As humble little guys just making Dizzy games, we can't control that. We could completely ignore a very powerful creative tool and then decide to produce nothing because it's too difficult to produce the quality that we want. And so we could go quietly into our retirement, or we can go, this is exciting! We love tech. We are sci-fi guys. This is an incredible time to be alive for a creator."

I can't believe they actually said the "humble little guys" thing out loud. We're just humble little guys who deserve some crumbs of stolen creative material. Have some fucking principles. You may not run OpenAI, Anthropic or any of the other shits destroying everything nice at the moment, but you can have the principles to not engage with the product that everyone hates and which is making everything worse. You can read the room and understand that people fucking hate this, and they hate shit that looks like your Emerald City garbage, but for the most part people are too polite to say that to your face or within potential earshot of you.

All it sounds like is that you wanted to be able to churn out something quickly, cheaply and with minimal effort, which does not sound like being a "creator". It sounds like two old men trying desperately to jump on a trend and cynically produce a product — worse, content — with no lasting value, and a morally bankrupt attitude towards the way it is produced.

Fuck the Oliver Twins, and fuck their stinking attitude. I once respected them as creators — and still do respect the work they both did when they were younger. But the men they are now, and the slop they are apparently desperate to produce as quickly and cheaply as possible? Completely and utterly dead to me.

Cunts.

If you want this nonsense in your inbox every day, please feel free to subscribe via email. Your email address won't be used for anything else.

#oneaday Day 849: Do people really not finish games?

I've seen it often suggested that "no-one finishes games" these days. Is that really true? I don't know. I am certainly not a representative example here, because I tend to only start games that I know I am going to finish for the most part. It might take quite a while to finish some of these games, if they're epic-length RPGs, but I will generally make an effort to finish everything I start. I have a mostly positive success rate.

I'm interested in this perception that no-one finishes games any more, because it's one of those things that is an alien concept to me — particularly with story-based games. Can you really derive any sort of satisfaction from playing a narrative-focused game and just leaving it unresolved? I guess in some ways it's the same as watching part of a TV series and then dropping it partway through. But it's still kind of alien to me.

So I thought what I'd do today is go through some games I can think of off the top of my head that one might regard as "popular", then see what the Steam Achievement rate is for "finished the game" or equivalent achievements. I appreciate this is an imperfect metric, because it doesn't take into account other platforms (particularly those which don't have achievements, like Switch) but it'll do for a rough idea. All right, let's take a look.

Pragmata

42.3% of people who played Capcom's Pragmata on Steam finished it to the point of seeing the credits roll on a first playthrough. This is a reasonably respectable number so far as I'm concerned, and I'm unsurprised to see this so relatively high to kick us off. Pragmata was praised as one of the first genuinely excellent triple-A games for quite a long time, so it's encouraging to see this many people play it through to completion.

It is less than half of the people who started it, though.

We see a big drop-off when it comes to completing optional material, though. 13.4% completed the main objective in all the Training Simulator side activities, which I completely empathise with; the Training Simulator is by far the worst part of the game and I absolutely hated every second of it. I am, therefore, unsurprised that a similar number of people went through and completed the postgame scenario, "Unknown Signal", since that involves running through a series of Training Simulator-like missions — only without the annoying bits. However, if you weren't to know about the "without the annoying bits" part, I can completely understand you not wanting to bother with it. And the additional bit you get on the ending for completing Unknown Signal is absolutely not worth it, either.

Resident Evil Requiem

Would you look at that? Nearly 75% of people have beaten Resident Evil Requiem, one of the most well-regarded entries in the series for quite some time. Only 65% of them beat it on "Standard (Modern)" difficulty, though, suggesting that all the Difficulty Level Discourse we've been having for the last few years has had an effect; there's a small but statistically significant number of people who had no qualms about playing on the lowest difficulty level.

Interestingly there is a different percentage for "complete the game on at least Casual difficulty" and "complete the game" ("Hope and Requiem"). I wonder how that happened?

Clair Obscur: Expedition 33

We look at a longer game now with Clair Obscur: Expedition 33. Here, just under 40% of people actually finished the game. I can sort of understand it in this case, because although Expedition 33's main narrative is thoroughly compelling and emotionally engaging, the gameplay is challenging enough that I can see a significant number of people falling off before the end. It's one of those instances where although the developers made a huge, beautiful world and obviously want as many people as possible to see it, they also weren't willing to compromise on the mechanical intricacies of the game. Respect to them for that, but it does mean that significantly less than half of the players who started the game finished it.

Final Fantasy VII Rebirth

Pity poor Final Fantasy VII Rebirth, though, a game where only just over a quarter of people who started it played it through to completion. This is another one that is arguably understandable due to the vast size of the game, but the team behind the game have got to be looking at that figure and feeling a bit disheartened.

But at least it's not the original Final Fantasy VII, which only 8.7% people who played it on Steam have finished. It's a shorter game! But there's also the fact that a lot of the people who would be inclined to buy Final Fantasy VII on Steam have nostalgia for having played it on PlayStation back in the '90s, and as such they may have just fired it up for a session or two to indulge that nostalgia, then set it aside. Less than 10% kind of sucks, though, because I'm sure there's some people coming to it for the first time, starting it and then never seeing it through to its magnificent conclusion.

Blue Prince

Honestly I'm surprised that nearly 40% of people finished Blue Prince, because it's the kind of game that repels you hard if you're not into it. But then you might say that the sort of people inclined to pick up Blue Prince probably already know that it's a game they'll like, and thus there should be a respectable proportion of them who finish it.

I didn't stick with Blue Prince long enough to know if this trophy encompasses all the endgame bullshit you have to do other than playing the annoying house layout game, but either way, even getting as far as just finishing the annoying house layout game is worthy of respect so far as I'm concerned.

Fuckin' hate that game.

I think that'll do for now. I know that's probably far from a representative or statistically significant sample, but on the whole, it seems like, on average, less than half of the people who start a game on Steam finish it. The games that are more likely to get finishes are ones that are on the shorter side, like Resident Evil, while longer RPGs inevitably see a much more significant drop-off. More niche-interest titles likely enjoy a slightly higher completion percentage due to the people playing having a sort of "vested interest" in the game and the genre it occupies, but still.

Anyway, I'm not sure I have a point here. So long as games that you can complete continue to exist, I will continue completing them, one at a time, because that's how I enjoy playing. If you're someone who doesn't beat games, do make an effort to finish one or two. I can pretty much guarantee you'll find it to be a satisfying experience. Just be warned: once you start in earnest, you'll want to beat everything you play… and for some, that way lies madness!

At least you're not chasing platinum trophies. That really is a sure-fire way to ruin all enjoyment of video games.

If you want this nonsense in your inbox every day, please feel free to subscribe via email. Your email address won't be used for anything else.

#oneaday Day 848: Initial impressions from St. Amelia

I've been playing Silent Hill Townfall! It is good. I think I am enjoying it more than Silent Hill f, but I do intend to go back and give that another go (and a shot at one or more of the other endings) for the sake of fairness, comparison and suchlike.

Silent Hill Townfall is quite a different sort of game, though. For starters, it's presented from a first-person perspective rather than Silent Hill f's third-person viewpoint, and it places a strong emphasis on stealth rather than combat. There is combat — and it's modern-day, weighty, get-hit-once-and-half-your-health-bar-is-gone combat — but for the most part, sneaking around pretty much always seems to be an option, and in some cases is outright essential. I am fine with this.

I know some people don't like stealth much, but when it's executed well, it can be a great part of a game — and it's especially fitting with the horror genre. It makes absolute thematic sense to be creeping around monsters who very much do not have your best interests at heart rather than attacking them, and it especially fits with Silent Hill's traditional idea of a relatively "normal" person being the protagonist.

Silent Hill Townfall also provides you with some excellent tools to help with the stealth part. The main one is a little portable CRT television which you can "tune in" to monsters' frequencies, and this allows you to "see" them, even through walls. At other times, you have a pager whose LCD display shows the direction that monsters are in, but not details. Most of the monsters move in clear patterns, so the stealth sequences tend to boil down to puzzles of sorts: how best to get across the area while avoiding ending up in their line of sight.

There's excellent use of sound, too. When you're visible and vulnerable to a monster, the background audio builds in a gradual crescendo before eventually giving a "boom" when they're actively pursuing you. Likewise, you can tell when you've reached safety, because the background audio chills out a bit. Very clever and subtle.

I'm not entirely sure what's going on in the narrative as yet, but that's par for the course with the series. There is a lot of… medical stuff going on, though. Medical stuff in general gives me the squick, so it's ideal horror fodder for me; when combined with some of the other stuff Silent Hill Townfall is doing, I'm very happy at the experience it has provided thus far.

Highlights for me in the seven or eight hours I've apparently played since yesterday include some puzzles that involve creatively interpreting video footage to determine a combination number subtly hidden within; an inordinately stressful sequence in which you are tasked with performing various medical procedures on a patient while a complete cunt of a doctor yells at you over an intercom for being incompetent; and a puzzle based around locating blood bags, pairing them up with the appropriate medical charts, and then combining them to crack a code that unlocks a door.

I'm not crazy about the "instant death" monster who showed up during the blood bag sequence (only during the hunting for the blood bags, not during the puzzly part, thankfully) but, as previously noted, the sneaky-sneaky nature of most of the game means that you're already well-trained at avoiding monsters by the time you run into it anyway.

I'm looking forward to seeing where the story goes. There's already been some intriguing weirdness to it all, but I have no idea where it's going to end up just yet. We shall see, I guess — that is, if Ace Combat 8 doesn't distract me from it too much…

If you want this nonsense in your inbox every day, please feel free to subscribe via email. Your email address won't be used for anything else.

#oneaday Day 847: Skeletons

I've been following this Jacob Geller business with mild interest. I have no particular "horse in the race", as it were, as I don't really know who he is, haven't watched any of his videos and don't own his book(s), but it's clear that his work meant a lot to people and thus, the recent revelations about him have genuinely hurt those people.

If you haven't been following this, Jacob Geller is a video essayist who apparently does some good things about video games. As I say, I've never watched his stuff (and am probably not going to now) but, prior to all this, he seemed to have a pretty solid reputation as being a decent human being. Progressive, even. Now, of course, that trust has been broken; in a statement he put out yesterday, Geller noted that the whole situation is "the biggest regret of his life", but regardless of those regrets and what he has done since that time, to a lot of people — particularly his biggest fans — that past indiscretion is a permanent blot on the copybook.

And I'm not even saying that's wrong. Sexual assault is, of course, no laughing matter, and for it to get as far as the victim invoking "Title IX" (whatever that is, I don't know American law for obvious reasons) means that it must have been pretty serious. It's entirely understandable that, even though that offence took place many years ago at this point, some people simply cannot trust this person ever again.

What I find myself wondering is how this keeps happening. I feel like for the last few years, we've seen a steady stream of people who build up a following and a fanbase in the public eye online, only for it to come out that, at some point in their past, they were a despicable human being and may or may not, in fact, actually still be one, despite the front that they've been putting up to the world. And every time it happens I just wonder: what happened to these people? How did their life end up that way?

Perhaps it's a personality type thing: the person who is likely to find success at YouTube and streaming in 2026 is also the type of person who is likely to have sexually assaulted someone ten years ago. I don't really think that's true. I know people personally who have been doing YouTube for that long and, to my knowledge, none of them has ever done anything like that. I guess that's always the point in these kinds of situations, though; you never really know until something comes out about them.

Does that mean everyone should be looked on with mistrust? Of course not; that's no way to live. But I don't blame people for being wary at this point. It's happened too many times.

I think in my case I'm just confused because everything about all this is just a completely alien concept to me. I'm not saying this in a self-aggrandising "look at me, I'm a wonderful person" sort of way; I just mean that the very idea of treating another human being with such a lack of respect is so utterly unthinkable to me that I simply cannot imagine how people like this ended up doing what they did. But it only takes one lapse of judgement to bring a career to an end — those consequences might not be for ten years or more, as we've seen here, but it seems they are pretty likely to catch up with them eventually.

Perhaps it's for the best that I've always been riddled with social anxiety and have thus led quite a straightforward, normal and boring life. If nothing else, it means that Past Me has never been in a position to acquire any skeletons in his closet. And I'm glad about that. Not because I have any particular designs on Internet Fame or anything, despite the amount of stuff I post publicly. But because it means I can continue existing with a clear conscience.

If you want this nonsense in your inbox every day, please feel free to subscribe via email. Your email address won't be used for anything else.

#oneaday Day 846: Eye for an eye

We are brought up with, it's fair to say, somewhat conflicting messages on the subject of revenge. On the whole, we are mostly discouraged from it on the grounds that it doesn't necessarily solve anything, and any momentary high you might feel from delivering it will likely be short-lived. But we're also bombarded with popular media that makes revenge look cool.

I've gone through my life trying my best to not hold grudges too much, but there are a few times I've been wronged where I just cannot, with good conscience, let it go. In each of these situations, I feel like part of me desires revenge on the person (or group) who wronged me, but I have not, to date, had the opportunity to follow up on any of these desires. And I honestly don't know if I would, given the opportunity.

But the thought is there. It's always there.

There's one thing the objects of my grudges all have in common: they were all in positions of power, and they all abused that power in some way. Whether that was for their own material gain or the end result simply being hurting someone (me), they all leveraged the power they held in a way that ended up having a negative impact on someone else's life. And not always just me, either.

For the sake of… I don't know, propriety? I will refrain from naming specific examples here. But it's been long enough now for one of them that I think I can talk in slightly more than vague terms.

I used to have a job that I absolutely loved. It was a job that involved using my skills and passion every day, and I thought it was a job that would set me for life. I liked the people that I worked with, and I did well at the work itself. All looked good for a while, but over time, the people in charge started to see fit to… start exerting their influence more than they perhaps had done in the past. And this started to come to a head with a colleague of mine who ended up dismissed from his position — which, like me, he had loved and always given his all to — on the grounds of some spurious accusations about his behaviour. I know they were spurious because I worked with this guy every day and there is no way in hell he would have done anything the slightest bit inappropriate, whatever that might mean to you. (It wasn't anything sexual or violent he was accused of, I hasten to add.)

But he had a target marked on him from thereon, and during the long and painful process of his disciplinary proceedings leading to his dismissal, he asked me to be his second in the various meetings involved along the way. I looked up what a "second" was supposed to do in this situation, and determined that they had the right to ask questions and help to defend the person who had nominated them. So I did. I assembled a set of questions that would help my colleague explain that this was all complete nonsense, and that he had been maliciously targeted… and I was basically told to shut up partway through proceedings. Naturally, as you might expect, that then caused a target to appear on my back, too — again, despite me having not actually done anything wrong. I hadn't even had a single complaint from a customer in my case.

The injustice of it all stung back then. It was excruciating to see first my colleague and friend pushed out of his position, and then to see it happen to not just me but several others of our number also. The people who had all the power in this situation were very obviously misusing it. Why? I do not know. I don't know what they would "get" out of losing several of their best employees — and there were ample metrics to back up that boast, in the form of the "NetPromoter" surveys all our clients had the option to fill out after a session with us — other than a sense that they were in control, this was their domain.

Regrettably, I encountered a very similar scenario on multiple subsequent occasions, and it was always the same. There was always one individual at the centre of it all, who had developed something of a God complex based on the little power they had over other people — or rather, the fact they held the keys to people's careers. In every instance, these people exerted their influence in a way that hurt others, poisoned the atmosphere around them and couldn't have been any benefit to them and their team whatsoever. And not one of them saw any consequences for their actions that might discourage them from doing it again. So they almost certainly have done it again since.

These are the people I want revenge on. These are the people I've never been able to forgive and forget. These are the people who, if I ever saw them again, I would… I don't know. I'm not a violent man, and I have no desire to end up with any sort of assault charge. But if any people in the world deserve a good punch in the face and/or balls (where applicable), it's these people I'm thinking of right now.

If you want this nonsense in your inbox every day, please feel free to subscribe via email. Your email address won't be used for anything else.

#oneaday Day 845: It is late night

It is very late, because I thought I'd finish Nighthawks this evening. I successfully did so, then decided that I wanted to write about it while it was fresh in my head, so I did that also. Now it is 1.15am and I haven't written this, so here I am.

I really should probably make an effort to go to bed earlier. I find it enormously challenging to get up every morning. It's a weird sort of… dread of what the day holds. Not because I'm actually literally anticipating anything terrible happening, but just because being in bed feels warm and safe and nice, and I often wake up in the morning having been in the middle of a pleasant dream that I'd like to go back to.

I know I can't just go back to a dream by snoozing my alarm and closing my eyes, of course, but my body still tries. Oh, heavens, it tries. It resists with every fibre of its being. It wants to disappear into whatever other dimension we go into when we dream, and leave this world behind, if only for an hour or two. Even though it's just had a good eight hours or so of being able to do exactly that.

It's strange, really, isn't it? We sleep every night, and most of us get roughly the amount of sleep we're supposed to get. So why is it so easy, of a morning, to fall into a pattern where you just want to keep sleeping? I love sleeping. I love what my brain does while I sleep. Dreams are fascinating, though I know not everyone enjoys hearing about them. I find them interesting, though, and often want to cling onto them after I know it's time to haul myself out of bed, make some breakfast and set about the day's business.

I dunno. It's probably just one of those things where you have to get yourself into a healthy and productive routine… and perhaps determine your own circadian rhythm, too. Oddly enough, I find myself more awake if I have to get up to have a wee at, like, 6am, than I do when my alarm goes off at 8. Maybe I should just start getting up at 6, have that wee and then stay up.

But then bed is warm and nice and comfy, and deliberately depriving myself of two hours in there feels like such a waste somehow.

I don't really know what I'm talking about any more. That's probably a good signal that I should save this post, scribble some stupid doodle to go at the top of it, and then actually go to bed. I am borderline delirious, but I have no regrets. I really enjoyed the end of Nighthawks, and I really enjoyed writing about it. Please go read my thing about Nighthawks, then buy and play Nighthawks. It really is very good.

And on that note, then, good night. I am about to go and sleep very well.

If you want this nonsense in your inbox every day, please feel free to subscribe via email. Your email address won't be used for anything else.

#oneaday Day 844: Mechannative

These days, I feel like a lot of people determine that they're either into narrative-centric games or mechanics-centric games, and don't do much in the way of cross-pollination, even when the games themselves do so. I'm sure we all know at least one person who takes inexplicable pride in the fact that they skip all the cutscenes in games, for example.

Me, I've always been a "why not both?" kind of person. There are times when I'm in the mood for a game to tell me a good story, times when I'm in the mood to engage with some interesting mechanics — and times when I find a blend of the two to be most rewarding.

Actually, there are times where I feel like I'm enjoying mechanics-centric games a lot more now than I have done in the past — to such a degree that I've found myself wondering more than once if I actually prefer them. This was particularly fresh in my mind while I was feasting on Super Mario Galaxy while we were on holiday.

Then a game like Nighthawks comes along, and I'm reminded of how involving and immersive a game that places its narrative front and centre can really be. How it can feel like you're really inhabiting a world with a cast of characters, truly sharing your experiences with them.

The gameplay in Nighthawks isn't especially complex, but it is enough to distinguish itself from both visual novels and adventure games. I'll have a lot more to say about this when I write about the game in full once I've beaten it. I'm not sure how far off that is now, but I've been playing for 30 hours and things are definitely building to something. But suffice it to say for now that I am thoroughly enraptured by this dark little world and the colourful cast of misfits that populate it.

I think the simple answer is that I just like a wide variety of gaming experiences, both mechanics- and narrative-centric. I attribute this to growing up in an age where mechanics-centric was the norm and narrative-centric was relatively unusual to see, and then having several of my defining gaming experiences be with narrative-centric games, including Indiana Jones and the Fate of Atlantis and Final Fantasy VII. This state of affairs helped me see the benefit of all types of games.

Well, no. There are some games, like grand strategy affairs, that I still find largely indecipherable. But I guess one has to draw a line somewhere. As it stands, I don't think I'm ever going to be short of things to play!

For all the terrible things happening in the games industry, it is still a great time to be into games. And there are a bunch of things out in the imminent future that I'm very much looking forward to getting stuck into. After Nighthawks, of course…

If you want this nonsense in your inbox every day, please feel free to subscribe via email. Your email address won't be used for anything else.

#oneaday Day 843: Exploring the mundane

One of my favourite things in video games is when a game takes a very small, pretty mundane environment and renders it in a ridiculous level of detail. I'm not generally a "graphics person", but if you give me a game in which I can poke around a tiny, convincingly rendered house in extreme levels of detail I will be very happy indeed. Consequently, I am very excited to check out Silent Hill Townfall when it arrives.

I actually don't know very much about Silent Hill Townfall. I don't even really know how it plays. After not loving how Silent Hill f turned out — or more accurately, how it played — I haven't really been following the new one, but I have seen a few screenshots floating across my feed here and there. And I am finding myself oddly excited by them: specifically, by the fact that the game unfolds in a lovingly recreated depiction of working-class Britain (well, Scotland, but much of the characteristic visual identity is similar) and allows you to… well, poke around in tiny, convincingly rendered houses in extreme levels of detail.

I'm all for this. The idea of Silent Hill being more of an amorphous concept than an actual, physical place is a solid move for the series, I think; for all my grumbling at Silent Hill f's gameplay, its vibes and depiction of 1960s rural Japan was fantastic. The way the setting reflects the protagonist's mental state has always been an important part of the series, and setting it in places other than small-town America allows a lot more scope for this aspect of the storytelling.

I'm not even all that bothered about the inevitable "Otherworld" stuff that will almost certainly be part of Townfall. I don't need spooky scary monsters jumping out of closets at me. I just want a cool little world to wander around.

My attitude towards this sort of interactive experience goes some distance to explaining why, back on its original release, I enjoyed Gone Home so much. There are still people who get absolutely frothing mad about that game, but I was never one of them. For me, it perfectly captured the almost exact same feelings that I felt when I first returned to the place that had once been my home after my first wife left me. You might think that's not exactly something I'd care to be reminded of, but at the point I played Gone Home there was enough distance between that happening and me being able to look back on it and appreciate a piece of work that understood those feelings.

A similar thing for Everybody's Gone to the Rapture, a mostly forgotten PS4 game in which you walk very slowly through an English village and weird things happen with no real explanation or resolution. While I very much understand some people bouncing off that one in particular, I was thoroughly enamoured with just existing in that world.

I think all this goes back even further to Build engine games like Duke Nukem 3D, Shadow Warrior and Blood, which at least made an effort to depict convincing, realistic environments and feature interactive elements you could fiddle around with. Of course, the tech was too limited to be able to create environments with the level of detail we expect from our big-budget entertainment today, but there was something oddly… real-feeling about these virtual locales that I never quite got from games that took a more fantastic or sci-fi approach.

So yeah. I'm mostly excited about Silent Hill Townfall to wander into houses that look a bit like where my Nan used to live. And I don't have a problem with that at all. If the game turns out to be good, so much the better. But I'm going to enjoy just exploring that world, I think.

If you want this nonsense in your inbox every day, please feel free to subscribe via email. Your email address won't be used for anything else.